Last night saw the debut of Deathstroke, and he really wields a stroke of death.
... wow, that was awful. If I promise not to make any more puns, will you stick with me?
You guys are the best! You know what also was the best? Last night’s Arrow. We left off last week with what seemed like the end of the road for our favorite hooded archer. Oliver Queen was arrested on suspicion of being the vigilante, and his arresting officer Det. Lance was as happy as a fat kid in a candy store. The police had video evidence of Oliver grabbing a duffel bag and the green hood in a stairwell of the building where Deadshot was firing his poisoned bullets. Now, I thought this was concrete evidence and Oliver was screwed. Little did I know that Oliver actually planned the entire thing!
Yup, he knew the security cameras were there, and he set the entire thing up. He wanted to be arrested so he can have an alibi for when another hooded archer – Diggle, who was thoroughly enjoying playing the part and playing with Oliver’s "billionaire vigilante toys" – took down an arms deal. Oliver knew it was only a matter of time before people put two and two together: that Arrow came to Starling City at the same time that Oliver reappeared. The writers are so smart! Diggle successfully pulled off the ruse, and Oliver was cleared of all charges.
But not before he succumbed to a polygraph in front of Det. Lance. Oliver was desperate to prove his innocence to the one person that wouldn’t give up on exposing that Oliver = Arrow. While a jury, judge, and society would accept Oliver’s cover story, Det. Lance would never be fooled. So: polygraph.
Turns out, the island was good for more than just archery lessons and rosetta stone-ing. Oliver also picked up the ability to lie so well he can fool a polygraph.
And another island reveal this week: the group of black ops guys we got a glimpse of turns out to be run by a man named Edward Fyers who wants to find Oliver’s mentor, Bearded Asian Arrow. I guess the island is big enough that Fyers and his men can’t find Bearded Asian Arrow out and about hunting for rabbits and marooned billionaires? Fyers wants him so badly that when Oliver lies (badly) and says he’s never seen him before, in comes seriously the scariest looking dude wielding a katana ever Deathstroke.
The reason behind all of Oliver’s scars becomes quite clear when Deathstroke starts torturing him. Bearded Asian Arrow saves Oliver and brings him back to their home cave, but not before Deathstroke does some serious damage. The takeaway we get from this: Oliver and Bearded Asian Arrow begin to form a bond after Oliver refused to give up Bearded Asian Arrow’s whereabouts. Now we can get to the training montages, right? Right?!? I'm not desperate.
Back in present day, during the polygraph test Oliver does give up one true secret to Det. Lance and Laurel: he was not alone on that island, and his not-so-friendly neighbors tortured him. This got us our weekly shirtless scene later on, when Oliver showed Laurel just how bad things really got for him. We also got our first Oliver/Laurel kiss, which was pretty great. Laurel pushed him away, but you know that's not going to last. Can’t wait to see this go further!
Laurel also noticed something wonky. During the polygraph test, Det. Lance asked if Oliver had ever been to a certain prison where Laurel was saved by Arrow last week. Oliver said no, but here’s the catch: Oliver and Laurel went to that same prison for an eighth grade field trip. Laurel looked over the polygraph results and was shocked that there wasn’t even a flutter when Oliver lied. When she confronted him later, actually suspecting him to be Arrow, he convinces her he’s not by pulling the “I’m too selfish to be a hero” card. I think it works, but we can’t be too sure. Only time will tell if Laurel believes him or starts to figure out his secret.
Also, Walter confronted Moira about the salvaged Queen’s Gambit he came across in last week’s episode, and she gave some vague warning about how it was too deep for him to get involved. He then left for Australia for “business” but really I spy a divorce in the future. Who woulda thunk that the guy with the British accent was actually the good guy? I had my money on him being evil in some way.
Follow Sydney on Twitter @SydneyBucksbaum
[Photo Credit: Jack Rowand/The CW]
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When DC Comics decided to reboot and update all their titles last year, all of their marquee characters got dragged into the modern age. Yet Clark Kent (who can still leap tall buildings in a single bound, but he does it while wearing a hat and glasses so no one can tell he's Superman) still had a job as a reporter at the Daily Planet (which can be delivered to your doorstep everyday but wears a hat and glasses so no one can tell it's the New York Times).
Print? How 20th century! Sure, the paper was owned by a large corporation and it was more of a multimedia platform, but couldn't he have gotten a job as a blogger, a web reporter, or at least a TV news segment producer? I mean Newsweek and The Guardian are ceasing their print editions, why shouldn't Superman? Well, now they're correcting their mistake and having Clark quit his job.
In a "I'm mad as hell, and I'm not going to take it anymore," moment, Clark gets up, gives a big speech about how journalism is being ruined by trying to be like entertainment, and storms out of the office. He was sick of his bosses treating him like crap for not getting enough scoops about Superman... I mean himself... I mean...you know. "Superman is arguably the most powerful person on the planet, but how long can he sit at his desk with someone breathing down his neck and treating him like the least important person in the world?" Scott Lobdell, who writes Superman, told USA Today, a newspaper that still prints itself on paper is like a dinosaur.
Lobdell isn't spilling the super beans about what Mr. Kent's new gig is going to be, but he hinted that it would be something like the Huffington Post or the Drudge Report. "We're going to really see Clark come into his own in the next few years as far as being a guy who takes to the Internet and to the airwaves and starts speaking an unvarnished truth," he says.
Well, being that I know a thing or two about being a journalist on the internet, here is a little bit of career advice for Clark Kent while he revs those serves up and tries to pwn the Internet.
Get Over Yourself: Truth on the internet is great. But do you know what fills the homepages of the websites you want to emulate? "Michelle Obama Says Vote Early on Election Day Because Your Toilet Might Overflow." "Adopt a Shelter Dog. It Could Save Your Life." "HORROR: Black Woman Allegedly Set On Fire By KKK." "PHOTOS: 10 Grossest Things In America." That is what people want to click on. So, sure, you can sneak in the truth about the presidential election, the wars in the Middle East, and climate change in there somewhere, but people are still going to click on cat videos 10 million more times than they're going to click on some boring expose about corporate malfeasance.
Make a List: No one wants to read paragraphs and paragraphs of all of your deep reporting and interesting quotes. They just want to skim on their way to the cat videos. I bet no one is even reading this right now. They read the heading and skipped to the next item on the list. Watch. Cantaloupe watermelon cat bomb water glass meat pie sassafras Coney Island serial killer television screen strawberry rhubarb pie I just took a dump in my pants. No one even read that nonsense sentence. If it's not in a list, no one will care.
Scoops Matter: If you don't want to use your knowledge of Superman to get yourself some attention for your website, then you're an idiot. Why should we read your Drudge Report when there is, you know, the Drudge Report: Original Recipe? You need to give people a reason to read your site, which means having information that no one else has. Who knows more about Superman? No one! Capitalize on that to drive traffic. Oh, and if you get a scoop about the Justice League movie casting, you might crash your servers.
When in Doubt, Steal from Reddit: Real people can't figure out this insane internet hive mind, so just rip off their best stuff and pass it off as your own. Internet gold!
Kick Up the Nostalgia: There is nothing people on the internet love more than remembering the good old days. OK, maybe YouTubes of people falling down, but other than that, it's Lisa Frank stationary and clips from Pete and Pete. You have been around since 1938. No one has been there like you, (Super)man. Start trotting out some old pictures or remembrances of those days gone by, particularly of the '90s. You need everyone on Twitter to feel warm and fuzzy about their childhood like you're wrapping them in their favorite footie pajamas. Just one gallery of how the original Superman serials were made and you're golden. Oh, or maybe a Superman II reunion!
Embrace the Animated GIF: Seriously, dude. It's the future.
Be Sensational: No one wants to read an article title "Barack Obama and Mitt Romney Tie in Debate." No. Here is a headline for you. "Obama Demolishes Romney in Final Debate – PICS." Or, how about this? "Is There Any Way Romney Can Lose the Presidential Election?" The answer is no, but if you put it in the form of a question, you can say whatever you want. "Might Superman Finally Be Defeated in Battle by Bizarro?" No, of course not, but don't care about the truth, care about the clicks, you can do it. And if any of that fails, just write an article with "naked," "boobs," or "Justin Bieber" in the headline. Those are always good for increased readership.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: DC Comics]
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Giggity giggity, ALRIIIIGHT!
Family Guy is about to hit episode 200, and creator Seth MacFarlane knows how to celebrate accordingly. On November 11, Fox will air a one-hour Family Guy Special.
First up in the hour is the 200th episode, "Yug Ylimaf,"(that’s Family Guy backwards, in case you didn’t notice) in which Brian will use Stewie's time machine and accidentally cause the universe to run in reverse. They have to work together to stop it, before Stewie is "unborn."
After the 200th episode is a Family Guy retrospective called "The End of the World as We Know It." Viewers will get a behind-the-scenes look at the animated comedy, with interviews with MacFarlane and voice actors Mila Kunis, Alex Borstein, and Seth Green.
This sounds pretty great to me, but I have an even better idea for MacFarlane’s milestone episode: in true Family Guy fashion, the entire hour-long special should be one flashback leading to another, and another and another! It is their signature humor style, after all! Or just a full episode of Peter lying on the ground, moaning in pain, clutching his shin. Either idea works for me, really. What would you like to see for Family Guy’s 200th episode celebration? Let us know in the comments!
Family Guy’s 200th episode airs November 11 on Fox.
Follow Sydney on Twitter @SydneyBucksbaum
[Photo Credit: FOX]
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Last night’s Arrow premiere opened to strong ratings – 4.02 million viewers and a 1.3 demo rating, making it the CW's highest-rated drama since 2010. It was also the CW’s most-watched series premiere since megahit The Vampire Diaries debuted back in 2009. But does that mean that it’s a good show?
I can wholeheartedly say yes, yes it does. Those who haven’t seen it may write it off as just another CW show packed with six packs and beautiful eye candy, or another Smallville, or a Smallville spin-off, or a meathead violent action show. And all of those people would be wrong. Of course, to be fair, there is lots of ab-tastic and beautiful eye candy and a fare share of violent action. But these are only the cherries and whipped cream on top of the decadent, rich, hot fudge sundae that is Arrow.
First, a quick recap of the show’s premise. (Don’t worry, this post will be SPOILER FREE, to give those who are on the fence about the show a chance to get into it without ruining anything!) Hard-partying billionaire playboy Oliver Queen (Stephen Amell) was the only survivor of a shipwreck that killed his father among others, and he spent five years marooned on a mysterious and brutal island before being rescued. Queen comes home to Starling City a changed man, though he still presents a partyboy façade to hide his new alter ego hell bent on cleaning up corruption and evil via a list of names his father gave him before he died. In order to exact his revenge, Queen takes on the secret identity of Arrow, a hooded archer who isn’t afraid to take a bullet or two or snap a guy’s neck just because he saw Queen’s face. He keeps all those who were once close to him out of the loop about his new, darker persona. His sister, Thea (Willa Holland), nicknamed Speedy (watch the premiere to find out why the name is so appropriate), his borderline-douchey party-loving best friend, Tommy (Colin Donnell), who fell into bed a few times with Queen’s legal aide ex Laurel Lance (CW Queen Katie Cassidy), and Laurel, whose sister died in the shipwreck and father (Paul Blackthorne) is Det. Quentin Lance, suspicious of this new hooded lawbreaker. Queen’s mother Moira (Susanna Thompson) married her dead husband’s friend, and is hiding something regarding her newly recovered son.
Whew. Now that we got that out of the way, let’s discuss why Arrow deserves some of your highly coveted DVR storage space.
First of all, this is not another CW formula product. Arrow doesn't simply take a wide-eyed innocent girl with a high moral compass and surround her with equally beautiful people who all hide secrets and behave in dubious manners but want to all sleep with her. Arrow is nowhere near as cut and dry. The wide-eyed innocent girl? Laurel Lance went to law school and is determined to take down the same evil scum Arrow is targeting. She isn’t going to fall back in love with Queen now that he’s back. After all, he cheated on her with her sister, and led her sister to her death. She’s a strong, hardworking woman with the same goals as Arrow (of course, without all the violence and archery). For once, love triangles are not the focal point of the show, just an accessory to the mystery surrounding Arrow and his vigilante motives.
But Arrow isn't just a lazy response to superhero fandom either. We have spent months becoming oversaturated with superheroes at the box office — and, on the small screen, the CW bid adieu to Smallville after 10 years. But Arrow isn't taking advantage of the popularity of the genre or the void left by an angst Clark Kent. Amell’s superhero isn’t a traditional superhero. He is fighting bad guys, sure, but he has no moral quandaries about killing, separating him from Smallville's very moral, very supernatural Superman.
And he's plenty separate from Justin Hartley’s Green Arrow as well. The mythology, character — everything has been wiped clean. Whereas Hartley's Arrow was fun and light, Amell’s Arrow is gritty, dark, and violent, shaped by the island that broke him down and built him anew. Amell’s Arrow is his true self. It's his only identity now. Oliver Queen is the mask that hides the soldier within. It's an intriguing concept built within an intriguing show that's unlike any other show on TV right now — a difficult feat to accomplish. What can we say? Arrow truly hits the bullseye.
Watch the pilot here — Arrow airs Wednesdays on the CW.
Follow Sydney on Twitter @SydneyBucksbaum
[Photo Credit: Jack Rowand/The CW]
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The cover art for Christina Aguilera's new album Lotus leaves little to the imagination. Aguilera posted the cover art to her Twitter account on Friday.
The Lotus cover, which pictures her almost completely nude, should be enough to silence those who still insist on criticizing Aguilera’s body and weight. Her long hair covers the important parts up top and her bottom half is hidden by a lotus flower and ray of light, but it's clear Aguilera's got a killer bod.
Lotus, out on November 13, will feature Aguilera’s newest single, “Your Body,” and is her seventh album. Fellow Voice coach Cee Lo Green will be featured on the album, which will be a compilation of “everything I've experienced up until this point,” Aguilera told the Associated Press.
In the two years since her last album, Bionic, Aguilera has gone through a few big life changes. "I've been through a lot since the release of my last album, being on [The Voice], having had a divorce," she said. "This is all sort of a free rebirth for me." Tell us what you think of the Lotus cover in the comments section.
Follow Sydney on Twitter @SydneyBucksbaum
[Photo Credit: Twitter]
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Happy 4th of July, kidderoos! There really is nothing more American than Glee, amirite? So I can think of no better way to celebrate the birth of our great nation than reading Interweb recaps of The Glee Project — are you squeezing in your computer time somewhere between your fourth hot dog and the parade? Or are you about to run out to watch the fireworks? Firework! Speaking of fireworks, there were some — of the emotional variety — on last night’s The Glee Project (how’s that for a segue?).
The theme of last night’s episode was “Adaptability.” Which, we quickly came to learn, was a clever ploy to keep the contenders on their toes. Think you know what song you’re going to sing? Wrong! Think you know the choreography? You don’t! The mentors had scheming twinkles in their eyes as they threw the kids curveball after curveball. There are no fastballs or knuckleballs in adaptability week, only curveballs. And goofballs (I’m looking at you, Michael).
First shake-up of the night had to do with the homework assignment. This time around, the contenders wouldn’t get to pick their own lines. Oh no, the horror! Like, really, Robert? You think that’s a challenge? I scoff at your challenge; really, you just made this easier on the kiddies. Now no one had to risk damage to life and limb in a fight to the death for the best. line. ever.
Wait a sec! I totally forgot to talk about the single most important part of the episode, which happened right at the very beginning (you’ll have to pardon my scatterbrainedness, I’m just so excited about all the patriotic Jell-O I’m going to devour later today). So, the thing is, Aylin and Charlie decided to be “just friends.” This is a really good call, they both agree, because this means they can channel all the energy they used to put into frivolous activities like snuggling straight into figuring out how best to kick each other’s asses. There is not a hint of sarcasm so much as floating in the general vicinity of Charlie as he says, “Friendship. Is awesome.” Yeah, right.
Okay, back to the homework assignment. The super-secret special mentor for adaptability week is… Artie! Kevin McHale saunters into the dusty choir room, sans wheelchair, and whips off his glasses Clark Kent-style for dramatic effect. Ali bursts into a bout of uncontrollable giggling. She loves him, you see, because he never cheats when he’s using his wheelchair. But Kevin has some — dramatic pause — bad news for the kidderoos. Thought you were going to sing Alanis Morissette’s “You Oughta Know”* as a group? Wrong! It’s solo time. Each contender will have to sing the song individually. The color drains from Shanna’s face, leaving her a lovely shade of ashy pale green — she doesn’t know the words.
*Fun fact: “You Oughta Know” was written in 1995 and is based on the tumultuous relationship Alanis had with Full House star Dave Coulier. That’s right, Uncle Joey. I guess Alanis doesn’t like impressions or hockey.
NEXT: Twist 1.5 revealed!Thankfully, for the viewers at home at least, the Glee Project’s team of ninja superstar editors splices all the solos together so we don’t have to listen to “You Oughta Know” 10 times. Kevin and Robert, however, do have to listen to Alanis’ anthem 10 times, which explains the ringing in their ears and sudden urge to break a few pieces of flatware before settling in on the sofa with a Snuggie and a pint of Chunky Monkey. Oh ‘90s music, how you make me feel things.
The winner of the homework assignment is Aylin. Congrats, Aylin. Woohoo, it’s your party.
And we’re onto twist number 1.5 (because I don’t think the first twist was really much of a twist at all, but rather more of a lil twistlet). Neither Kevin nor Robert will be announcing the song for the music video this week, because it’s a surprise. The contenders won’t learn which song they will be expected to sing until they’re in the recording booth with Nikki. Same goes for choreography. They’ll be learning their two-steps on set.
At this point, it dawns on me that adaptability week is a really good idea. Essentially, what the powers that be are doing is testing whether these kids have what it takes to be working actors. As SAG card-carrying, working actors in Hollywood, the contenders will be forced to change things up at the drop of a hat. You think Lea Michele needs more than two microseconds to learn the latest Kelly Clarkson ballad? You think Harry Shum Jr. ever needs to rehearse his choreography before the cameras are rolling? You naïve sons of guns.
Turns out, the song for this week’s music video is Jessie J’s “Price Tag,” and the premise of the video is a class war between the mean rich kids and the broke kids who just want to have fun. The recording session and video shoot are a whirlwind of cha-ching cha-chings, so here’s a list of highlights.
1. Ali decides to do a bit of spoken word in the recording booth. Nikki is not impressed.
2. Nikki is impressed with Michael, who decides to let loose and be a total goofball. Also impressive are Shanna, who didn’t “know this song from Adam,” Aylin, and Lily.
3. Abraham is freaked out about learning choreography on set. He’s just not a fast-learner, you know? He starts to rock back and forth a bit, cradling his knees to his chest.
4. Robert reminds the viewers at home that this is adaptability week. Woah, did you know the theme was adaptability? I had no idea!
5. Charlie gets into his bitchy rich person character by declaring into a fake cell phone while wearing a palm tree-printed Hawaiian shirt, “I don’t care how many ocelots you have.”
6. Mario clears things up a bit by telling us that his vibe is “girls and money.” Are you a pimp now, Mario?
7. Erik dubs Mario the problem child, stating he has never had such a difficult time with anyone on set. In doing so, Erik accidentally reveals that he has the same disorder Guy Pearce has in Memento, because how could be forget Charlie from last week?
8. Blake is an awkward dancer.
And there you have it.
NEXT: On to the reveal of the bottom three!The judges announce that Aylin had the standout performance of the week, and that Shanna, Michael, and Lily are also safe. That leaves Mario, Ali, Abraham, Charlie, Blake, and Nellie to learn their fate. In the final twist of the night, Robert announces that all six of them will have to sing for Ryan Murphy, paired up in duets. Sheeeeeit. Here’s what happens.
- Blake and Nellie are asked to sing “Waiting for a Girl/Boy Like You” by Foreigner. They’re up first. Blake and Nellie take to the stage and the lights dim; I can already tell we’re in for a treat here, folks. Blake and Nellie (Blellie?) have put together a heart-wrenching soap opera of a rendition for the judges, one filled with emotional singing into each other’s faces and a forehead kiss that’ll make your heart squee. Upon finishing the song, Ryan Murphy proclaims, “That wasn’t a Last Chance performance, that was an opera.” These two are clearly safe, and scurry off stage holding hands.
- Ali and Abraham are next, singing Katy Perry’s “Last Friday Night.” This song, I think, is a trainwreck. They start off by finishing each other’s sentences, and then things go from bad to worse as their voices ricochet off one another during their harmonies. And, Abraham, would you mind looking at Ali while you’re singing? I know you dyed your hair last week and you’re super masculine now, so would at least pretend that you like her? But oh, wait, apparently I know nothing about music and don’t even have ears, now that I come to think of it, because Ryan Murphy thought their performance was charming. Ali is like a “funny little Dolly Parton,” he proclaims, which I guess is a compliment.
- Mario and Charlie are last, singing “Don’t Let the Sun Go Down On Me” by Elton John and George Michael. Our brief glimpses of their rehearsal time together is beyond cringe-worthy; these two clearly can’t stand each other. On stage things get intense. Mario nearly breaks down sobbing and I daresay I see the glimmer of a tear in Charlie’s eye, which makes perfect sense because there’s nothing like an Elton John ballad to make grown men cry. Ryan Murphy thinks it was sweet, but it’s clear to everyone that one of these two cry babies is going home this week.
Robert walks into the choir room following the Last Chance performances with his head hung so low that I think he’s about to pull one of the contestants aside to tell them their grandmother died. But no, he just wants to say, “The list is up.” Robert pulls out a paisley handkerchief to wipe his eyes as he sulks out of the room.
Going home this week is Mario. Charlie and Abraham are happy because they know that neither one of them were very good this week. I’m happy because Mario’s the worst. Can’t say that I’ll miss ya, bud! Mario makes his exit as proud as ever, stating (over swells of violins) that he hopes people watching this show will find him inspiring. In a rare and fleeting moment of strength and humility, Mario declares, “Blind is the last thing on my list.”
I can’t wait for more shenanigans next week, but for now it’s time for a red, white, and blue rocket-shaped Popsicle. Viva America!
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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
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Funny thing about this week’s summer movie kickoff, The Avengers: While all of the superheroes have been around for a long time in comic-book and/or animation form, they’re all relative newbies to the live-action world. (That is, with the exception of the Hulk and, to a lesser degree, Captain America.) Not the case with the unofficial “first wave” of superheroes, the ones many of us have been watching — and have been entertained by — for decades on the small and big screens. Here’s a look at those superheroes, the actors who have portrayed them on TV and in films, and how they’ve changed (or haven’t) over the years.
BATMAN
Adam West
In: Batman (TV series, 1966-‘68) and Batman (movie, 1966)
Best/Worst Batman? Neither
Notes: West is generally thought of as the first actor to play the Caped Crusader, but Lewis Wilson and Robert Lowery each played the character in the 1940s “serial” movies. West, however, was the first to give Batman a place in the public consciousness, cinematically speaking, and he will forever be linked with the superhero. His performances were solid, but West was a victim of the campy feel of the movie/series in which he starred… and the spandex Batsuit… and the Batusi.
Michael Keaton
In: Batman (1989) and Batman Returns (1992)
Best/Worst Batman? Neither
Notes: Keaton’s interpretation of Batman, which followed two-plus decades of nonactivity on the big screen for the Caped Crusader, forever changed the representation of the character. The monotone, emotionless voice? The physical rigidity? That’s Keaton’s work (which isn’t to say his director, Tim Burton, didn’t have a hand in crafting the modern-ish Batman). And what great work it turned out to be. In fact, we'd understand if you rank him as the best Batman of all time; he’s our No. 2, and just barely. (And on the subject of rankings, Kevin Conroy, who voiced the Dark Knight in the 1990s animated TV series, doesn’t quite meet our live-action criteria for this list, but vocally, emotionally, and dichotomously — as Bruce Wayne and Batman — nails the character unlike any before or since.)
Val Kilmer
In: Batman Forever (1995)
Best/Worst Batman? Neither
Notes: Kilmer was mostly just… innocuous as Batman in his really, really brief (as in one-movie brief, thanks to the ol’ “creative differences”) tenure playing the character. Although strong in spots, Kilmer’s turn as Batman was stiff and ultimately forgettable, a Caped Crusader that didn’t make audiences feel much of anything. That’s a no-no for a character as complex as Batman.
George Clooney
In: Batman &amp; Robin (1997)
Best/Worst Batman? Worst
Notes: The Cloon Man can do virtually no wrong — except when it comes to the role of Batman, which was a borderline (unintentional) joke at the time and is now, in hindsight, an absolute joke. Clooney’s delivery and affect were tonally askew pretty much throughout the movie, and then there were the things he had no control over, like the prominently displayed codpiece — er, Bat-crotch (pictured, above!) — not to mention director Joel Schumacher’s subtly erotic take on Batman and Robin’s relationship. But Clooney’s hindsight assessment of the movie’s failure, and his failure in it, has always been refreshing: “It’s easy to look back at Batman and go, ‘Whoa! That was really s**t, and I was really bad in it.’”
Christian Bale
In: Batman Begins (2005), The Dark Knight (2008), and The Dark Knight Rises (2012)
Best/Worst Batman? Best
Notes: Is it too soon to crown Bale the best Batman ever? Does proper perspective and evaluation of his performances require time and distance? Uh, no. Bale has captured the true essence of the Dark Knight (emphasis on “Dark”) like no actor before him, injecting his trademark intensity into an iconic character that, let’s not forget, was previously rendered a joke by Clooney and Schumacher. With obvious help from director Christopher Nolan, Bale completely resuscitated a dead franchise and restored fanboy sanity — by playing Batman the way he was meant to be played.
NEXT: Reeves or Reeve?
SUPERMAN
George Reeves
In: Superman and the Mole Men (movie, 1951) and Adventures of Superman (TV series, 1952-’58)
Best/Worst Superman? Neither
Notes: Reeves, as the first screen version of Superman, was a bit, well, steely as the Man of Steel, one of the few superheroes whose faces we see (and thus whose expressions are a big part of the performance). But it was more a sign of the times than bad acting. In fact, Reeves, who obviously didn’t have the good fortune of working with any sort of modern special effects, was often forced to rely on his raw physicality, to typically strong results. He was even cooler as Clark Kent!
Christopher Reeve
In: Superman (1978), Superman II (1980), Superman III (1983) and Superman IV: The Quest for Peace (1987)
Best/Worst Superman? Best
Notes: Make no mistake: We’re not calling the late, great Reeve an unequivocal success throughout his overlong run as the Man of Steel, but he’s certainly the franchise’s best. When one thinks of Superman in human, non-comic form, Reeve comes to mind first, and for good reason: Not only did he make us associate him with the character by, again, starring in at least two too many such films, but his performance throughout struck the perfect balance between sweet charm and raw masculinity.
Dean Cain
In: Lois &amp; Clark: The New Adventures of Superman
Best/Worst Superman? Neither
Notes: Don’t judge Cain based on his post-Lois &amp; Clark career — or lack thereof. He actually made for a solid Clark Kent/Superman in this small-screen take on the relationship between the title characters. Cain rendered Superman/Kent a likable, interesting, more contemporary superhero/guy, and a lot of viewers didn’t much mind his looks week after week, either.
Brandon Routh
In: Superman Returns (2006)
Best/Worst Superman? Worst
Notes: The movie’s box office failures and those of its star have probably been overstated a bit, but… yeah. It did disappoint in both aspects, especially the latter. While Superman Returns itself was relatively well-received by critics, Routh, who was basically unknown at the time of his casting, undeniably lacked charisma as the title superhero, and his performance was flat. Which isn’t to say it was disastrous, but for a franchise that had been inactive on the big screen for almost two decades, a wiser casting choice might’ve been a splashier name and/or a more impactful actor.
Henry Cavill
In: Man of Steel (2013)
Notes: A Brit? As the most all-American superhero?! Hey, worked for Batman — quite well. Aside from that, with nothing more than an exciting "first look" photo to go on, we don’t know what to expect from Cavill in the summer 2013 Steel, other than a major step up from the man he’s replacing. (That, and Christopher Nolan's producing.) With all due respect to Routh, there’s nowhere to go but up.
NEXT: The Irreplaceable Ms. Carter
WONDER WOMAN
Cathy Lee Crosby
In: Wonder Woman (TV movie, 1974)
Best/Worst Wonder Woman? Worst
Notes: Little-known, or frequently glossed-over, fact (by those who weren’t around in the mid-‘70s): Lynda Carter IS Wonder Woman, but she isn’t the original Wonder Woman. In fact, Carter might have Crosby to thank for her iconic role: The Wonder Woman TV movie garnered solid ratings when it premiered in 1974, but not great reviews from critics or viewers. Thus, producers felt compelled to launch a serial version soon thereafter but also to take the character in a different direction, one that better paralleled the comic version on which she was based… i.e., played by a brunette.
Lynda Carter
In: Wonder Woman (TV series, 1975-’79)
Best/Worst Wonder Woman? Best
Notes: Again, Carter IS Wonder Woman. It's perhaps why TV and movie studios have had such a difficult time trying to find her replacement or replication for a big- or small-screen update… to no avail. (There has never been a movie version, and, well, see below for more on the extremely short-lived TV reboot.) And while Carter’s beauty was always what caught the viewer's eye first, her strong yet humane performance is what has really helped the character resonate and endure the way Wonder Woman has. It’s also what made her a role model to so many women at the time.
Adrianne Palicki
In: Wonder Woman (TV pilot, 2011)
Best/Worst Wonder Woman? Unknown
Notes: NBC was once so excited about its shiny David E. Kelley-backed Wonder Woman reboot with rising star Palicki in the title role. That was circa February 2011. By May, on the heels of the not-so-well-received first image of Palicki in costume, it was announced that nothing beyond the pilot episode would be necessary, and so the updated-Wonder Woman search continues.
NEXT: The Not-So-Jolly Green Giant
THE HULK
Lou Ferrigno
In: The Incredible Hulk (TV series, 1978-’82), The Incredible Hulk (movie, 2008; voice) and The Avengers (movie, 2012; voice)
Best/Worst Hulk? Best
Notes: Whether he likes it or not, Ferrigno is and always will be the Hulk, which at this point in his life/career is presumably somewhat annoying (see: I Love You, Man’s hilarious but probably accurate send-up). The ex-bodybuilder certainly would be a natural fit to play any superhero of monstrous proportions — green or otherwise — because of his physical stature, but it’s as much his innately hulky voice and mannerisms that make him such a great fit as the green giant. And it’s a role that has endured, to say the least, as Ferrigno provided the voice of the character in the 2008 Incredible Hulk and he does the same in this summer’s The Avengers (Mark Ruffalo will physically portray the Hulk in the film, but not vocally — which is more than can be said for Edward Norton and Eric Bana, both of whom only played the Bruce Banner character in the 21st-century Hulk updates; see below for more on them).
Eric Bana
In: Hulk (2003)
Best/Worst Hulk? N/A
Notes: Bana turned in a solid performance as Bruce Banner and is in no way, shape or form responsible for the cringe-worthy Hulk we saw on screen — the cartoonish version that might as well have been Shrek's juiced-up (on CGI) cousin.
Edward Norton
In: The Incredible Hulk (2008)
Best/Worst Hulk? N/A
Notes: The newer Hulk was a vast improvement over the previous model, seen in the aforementioned 2003 film — but it still had nothing to do with Norton, who, like Bana before him, only portrayed Banner. In fact, as much as the toned-down CGI deserves credit, it was franchise MVP Ferrigno, providing the vocals and more, who once again helped restore credibility to the character.
NEXT: Is the Best Yet to Come... This Summer?
SPIDER-MAN
Nicholas Hammond
In: The Amazing Spider-Man (TV series, 1977-’79)
Best/Worst Spider-Man?
Notes: Can Spider-Man be considered groovy? If so, that’d be probably be the most accurate description for Hammond’s tenure as the character. Just see: The porn music and overall vibe present in the way-too-‘70s Spidey TV movies/shows in which Hammond starred. His acting was endearingly cheesy — and you thought the upside-down smooch between Mary Jane and Spider-Man was tacky! — and he looked about two decades too old (and was, in reality, about one decade too old) to play Peter Parker. But no one can ever take away the fact that Hammond was the first-ever live-action Spidey.
Tobey Maguire
In: Spider-Man (2002), Spider-Man 2 (2004) and Spider-Man 3 (2007)
Best/Worst Spider-Man?
Notes: Part of what makes Maguire slightly off-putting in a lot of other roles is what also happens to make him credible as Peter Parker: a certain delicate awkwardness. The fact that, for three films, he was able to seamlessly and believably transform into the powerful, crime-fighting title web-slinger speaks to his oft-overlooked ability as an actor. (Even the studio, Sony, was reportedly not convinced that Maguire could pull off such a dichotomy… and then he auditioned.)
Andrew Garfield
In: The Amazing Spider-Man (2012)
Best/Worst Spider-Man?
Notes: Another British takeover! And another seemingly good casting choice: Garfield showed off a pitch-perfect American accent (and more importantly, a firm grasp on teenagedom) in 2010’s The Social Network, and that was all producers needed to cast him as the lead in Columbia Pictures’ franchise reboot. Garfield’s personal passion for, and understanding of, the character since childhood is icing on the cake. Couple all that with incoming writer/director Marc Webb’s hints of a deeper, less special-effects-reliant Spider-Man installment, and the Garfield casting ought to pay dividends immediately (especially if the studio got the pre-fame discount!).
More:
A Non-Geek's Guide to the Avengers
Batman Spends What? The Price of Being a Superhero
What If The Dark Knight Was Made In the '60s? — VIDEO

In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
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I’m sure you’ve seen the trailers for all the big summer movies by now, which means you’ve definitely seen the trailers for the comic book-inspired superhero flicks too and if you’re anything like me, you may be a little confused. What is that metal coffin thing and why does it make that scrawny guy so buff? When did Magneto get so young and become such a babe? What’s the big deal with Thor’s hammer? It just looks like a heavy-duty tool from my dad’s shed. Well, get ready to understand all-err…most of it. We don’t want to spoil the movies for you!
To help on our quest for knowledge, I’ve enlisted the help of our resident comic book nerd/expert/knowledge bank, Daniel Hubschman, so he can answer some of these questions. Then, we can join in the excitement and anticipation for a few movies that seem a wee bit complicated and confusing to the untrained eye.
Thor
Thor, May 6
Full Name: Thor Odinson (alias: Dr. Donald Blake)
Place of Origin: Born in Norway, raised in Asgard
Special Power or Weapon: Thor's strength, endurance and resistance to injury are greater than the vast majority of his superhuman race. A superbly skilled warrior, highly proficient in hand-to-hand combat, swordsmanship and, of course hammer throwing. His greatest asset is Mjolnir, a mythic hammer forged from uru metal which can summon the powers of the storm – namely lightening, thunder and rain. He can also use it to fly and travel to other dimensions and times.
Tragedy or hardship faced: The biggest tragedy is Thor’s life was being exiled from his home by his father for disobeying his orders. This relocation changes the Thunder God in many ways, chief amongst giving him human insight thanks to his time on Earth.
Additional questions:
What’s so special about this hammer? What’s the big deal?
Well Kelsea, Thor's hammer isn't just any old, around-the-Kingdom tool. Believe it or not, it has a name: Mjolnir. It's actually one of the most powerful weapons in the Marvel multiverse, forged from Asgardian magic and might. In addition to being handy in close-combat, it allows its wielder to harness the power of Thunder which is a major offensive asset. It can also help its handler fly (something that every superhero would like to be able to do) and is a personalized item: ONLY Thor can pick it up, not because of its weight, but because it is quite literally made for the God of Thunder. So yeah, it's kind of a big deal.
Wait, so why was his hammer at the end of Iron Man 2? What does this have to do with Tony Stark?
Ha ha. That's a good question. To be frank, Thor and Iron Man don't have much to do with one another apart from being founding members of the comic book collective known as The Avengers. Though they've crossed paths many times before in the funny pages, my guess is that since Thor was the next Marvel movie in line after Iron Man 2, the producers of these films felt it was necessary to get audiences amped for the next chapter in the story of The Avengers. Just another way to whet our appetites for what the studio was cooking up...
Captain America
Captain America: The First Avenger, July 22
Full Name: Steven (Steve) Rogers
Place of Origin: New York, NY
Special Power or Weapon: Aside from having the maximum amount of strength, speed, endurance and agility that a human can possess, Cap wields an invulnerable shield made from Vibranium, an unbreakable metal that allows it to be thrown like a Frisbee for offensive maneuvers while protecting its user from nearly any attack it deflects.
Tragedy or hardship faced: Aside from losing his parents at a relatively early age (thankfully, not because of a car accident or crime) Rogers was physically unfit to join the Marines when he enlisted at the beginning of the US’s involvement in WWII, which upset him greatly.
Additional questions:
What’s going on here? He jumps into a metal sarcophagus and comes out all buff and shiny? What’s going on in there?
I admit that the trailers for the film have been a bit misleading in that sense. That chamber you're talking about isn't some alien healing pod or superhero microwave. It's actually a radiation containment contraption that works in conjunction with the Super Solider Serum, which was developed by Tony Stark's father Howard at the request of the US government. The elixir is actually the catalyst for Steve Rogers' remarkable change. It genetically enhances its user's body, pushing it to its maximum potential, but doesn't work on its own. That's where the chamber comes in, bombarding the subject with highly concentrated "Vita-Rays" that trigger the metamorphosis. I tried ordering one, but S.H.I.E.L.D. hasn't been returning my phone calls these days...
He’s called the “First Avenger,” is that as in the Avengers?
Yes, though calling him the "First Avenger" is a bit misleading, because Captain America was around long before the rest of the team (well, not Thor. He's been around since long before Stan Lee). But it was his success that inspired S.H.I.E.L.D. to help create The Avengers in the first place, so I guess the moniker is fitting, especially since Cap quickly becomes the leader of the team thanks to his military strategy skills and superhuman abilities.
Who is this red-faced Nazi guy? Is he a Nazi or some weird alien? I don’t remember anything like him in my history books.
That's probably because the Red Skull wasn't really fighting the allies in the early '40s. That is his name, by the way, The Red Skull, though he was born Johann Schmidt, son of an abusive father who blamed him for the death of his wife while she gave birth to the boy. Years later he'd join the Nazis and become one of Hilter's most trusted -- and deadly -- soldiers. The Fuhrer even gave him a special uniform unlike any in The Third Reich...and it came with a horrific mask...a Red Skull mask. He is to the Nazis what Cap is to the American military...the embodiment of national morale and a universal symbol of patriotism, making him the arch-enemy of our heroic Captain.
Green Lantern
Green Lantern, June 17
Full Name: Hal Jordan
Place of Origin: Coast City, USA
Special Power or Weapon: The Green Lantern’s power ring allows him to conjure virtually anything; a baseball bat, pair of boxing gloves, bazooka, etc. His only limit is the confines of his own imagination and will.
Tragedy or hardship faced: Hal lost his father Martin at a young age in a freak accident during a test flight of an experimental aircraft. That gave him the devil-may-care attitude that you’ll see Ryan Reynolds sport in the first act of the film.
Additional questions:
So wait, he has a green lantern or he is the green lantern? How does that work?
This is going to get a bit confusing, so bear with me here. You're right on both counts: Hal Jordan (Reynolds) is a Green Lantern, one of many intergalactic police officers patrolling the universe. But he also has a green lantern, which is like a battery charger that replenishes the cosmic energy of the power ring which gives him the ability to do virtually anything he can think of. Got it?
But he’s not the only one?
Heavens no. You see, long ago the Guardians of the Universe (who founded the Green Lantern Corps) divided the known universe into about 3600 sectors. Each sector is assigned a Green Lantern to defend it against extraterrestrial or domestic threats. And since the life expectancy of a Green Lantern is unfortunately short, after one expires their ring is given to another worthy candidate who takes up the mantle. Earth is located in Sector 2814 and believe it or not, HJ isn't even the first GL in our world's history. Nor will he be the last...
Why do his eyes turn blue when he’s in the suit?
Well, why does Clark Kent wear those glasses? Chew on that one for a while...
Magneto and Professor X
X-Men: First Class, June 3
Magneto's Full Name: Max Eisenhardt (later changed to Erik Lensherr)
Place of Origin: Unknown
Special Power or Weapon: Magneto can manipulate the magnetic fields that exist naturally or artificially in the world, and control all forms of magnetism. Also, his helmet prevents those with psychic abilities, like Professor X, from getting inside his head.
Tragedy or hardship faced: So much…His parents were brutally murdered by the Nazis before he was sent to the Auschwitz concentration camp where he served as a Sonderkommando, one who operated the machinery in the gas chambers and ovens, and fire pits of the camp. Later, his first daughter was killed in a blaze he was unable to rescue her from and, after slaughtering a fearful mob at the scene, his wife left him, only to die giving birth to their mutant twins months later.
Professor X's Full Name: Charles Francis Xavier
Place of Origin: New York, NY
Special Power or Weapon: He’s the world’s most powerful psionic, possessing unquantifiable telepathic and telekinetic abilities.
Tragedy or hardship faced: Like so many superheroes, Charles lost his scientist father in a lab accident while his mother, who remarried an abusive colleague of her late husband, died sometime later. While studying in Oxford, Charles became engaged to Moira Kinross only to have the lady break off the relationship after he returned from the army.
Additional questions:
Why is this one set in the 60s?
There are two reasons for First Class going back in time. The main reason is that the film, as the title suggests, focuses on Professor X's earliest group of mutant recruits, whom he assembled as a younger man with his then-friend Erik Lensherr. This film is an origin story; not only for Charles Xavier and Magneto, but for the mutant dream team known as the X-Men as well. The second, slightly more meta justification for the setting is that it's going back to the period in which the X-Men were created, an era in American history marked by cultural upheaval and the civil rights movement. Just as the mutants fight for their right to co-exist with humans in the new millennium, in this tumultuous decade African Americans, homosexuals and other outsiders on the fringe of society fight for their right to live without being berated by the bigots of the world.
I don’t recognize some of these mutants. Why aren’t we seeing people like Cyclops or Wolverine?
Quite simply, because Cyclops would've been a young boy at the time of these events. Remember, if the film is set in the sixties, characters like Rogue, Iceman and Colossus wouldn't even be a twinkle in their parents' eyes yet. As for Wolverine, well, he was probably out there somewhere in the jungles of Vietnam during this time.
I thought Xavier and Magneto were enemies? When were they friends?
Again, right on both counts. In comics lore, Xavier and Erik met while working in a psychiatric hospital in Israel sometime after WWII. They immediately struck up a friendship because they were constantly engaging in debates about what would happen to the world if it were facing a superhero uprising. Later, they revealed to one another their mutant abilities and decided to pool their powers to help forge a better future for all mankind. But Lensherr grew tired of the war mongering ways of Homo sapiens, eventually adopting the mentality that mutants were superior and that they would one day be the dominant species on Earth. This fundamental philosophical disagreement led Lensherr to create the Brotherhood of Mutants to wage his own war, while Xavier, knowing full well the power his old friend possessed, formed the X-Men.